The stars are aligned against the traditional image of fatherhood, as they are aligning against the patriarchal canon of the history of art itself. To help them along, this exhibition seeks new father figures, queer genealogies, and artistic appropriations of the fatherly prerogative, or whatever remains thereof. The artistic works presented here touch upon biological, disembodied, counter-canonical, digital and (above all) sexy facets of kinship that enable us to re-imagine our role models, and indeed, the human body itself.

“I will be your father figure I have had enough of crime, I will be the one who loves you till the end of time;” with these words George Michael has sought to soothe us in our anxieties since 1987. And despite these reassurances painful questions persist: what can a father figure be? What will become of our fathers? Of the “Our Father”? Of the Father-land? What personae in the history of art have been underestimated as possible mentors on account of not being white, male, and / or straight? How can the building blocks that make a father figure be cleaved from the body of the biological progenitor? What disembodied, digital, and affirmative genealogies can emerge from this?

A point of departure for this project is the assumption that only a precious few develop themselves in the absence authority or role models, relying exclusively on their own piecemeal subjectivity. Hence, we curators bid adieu – goodbye to the family as reproductive union; goodbye all ye fathers of modernity; goodbye to fatherhood as the exclusive reserve of heterosexual men. In their stead we look, paradoxically, down from below and look up from on high in search of father figures who offer us their elective affinities in symbolic and fluid ways.

The exhibition brings together works of art, relics of everyday life, potential new role models, performances, lectures, analyses, salons and liberation rituals daring to walk the fine line between acknowledging the desire to admire and revere our father figures, while simultaneously allowing us to cast them away altogether.

Naama AradHar Hazofim

Naama Arad’s ‘Har Hazofim’ quotes the view from the window of the fictional Frank Lloyd Wright creation from Alfred Hitchcock’s classic ‘North by Northwest.’ A peach-toned silken curtain intervenes between our gaze and the Xerox copies pasted to the opposite wall on which landscapes can be seen. The paternalistic presidential visages of Mount Rushmore and the modernist architecture both see their material and ideological texture inverted in the most tender of feminist veilings. The title of the work refers to the mountain of the same name, and Israeli enclave in East Jerusalem that houses the Bezalel Academy of Art founded in 1906.

Timothy ArcherShrinking Daddy’s Head

Timothy Archer describes his father’s energy as a foundational impulse of his own creativity. In ‘Shrinking Daddy’s Head’ we see one of his portraits rendered on golden cardboard. The trajectory of shrinking reduction in the image is two-fold: gesturing simultaneously towards the corporeal decay of the subject of the portrait, sick with cancer, and towards the controlled binding of impulse and creative force to a sheet of paper. Both partake in a similar fetishistic recourse to the energy of the father, and to the force of expressive painting.

Lothar BaumgartenUrsprung der Nacht

Lily Benson / Cassandra GuanThe Filmballad of Mamadada

Sean CrossleyFatherings

Sean Crossley’s paintings stand in the space as figures containing complex, immersive abstract systems. His reflections upon being an IVF child inform this work, an experience of both excess and lack of fathers. Embracing this multiplicity, the works resist the representation of any singular narrative or structure of fathering, but rather aim to generate productive, performative spaces where ideas such as growth, influence, extension or becoming can be put to play outside of any genealogical structure.

Sergio CusmirDracula / Eternal Daddy

Hand carved dildo, size h=17cm Circumference 12cmCustom orders can be made with your photograph.
It is a wonderful gift for your sweetheart.
It can be functional but use cautiously!
Painting can not withstand an intense game. Only use mild soap and water to clean the dildo and please NEVER use any solvents or alcohol.

‘My reality is not the same as that which is often presented to us in western photographs. As an African working in a western medium, I try to bring out the spiritual dimension in my pictures so that concepts of reality become ambiguous and are opened to reinterpretation. This requires what Yoruba priests and artists call a technique of ecstasy.’ R. F.-K.

In his photographs, Rotimi Fani-Kayode takes up ritual and visual traditions of the Nigerian Diaspora. But his homoerotic representations are consciously not traditionalist. They originate from contemporary debates of the 1980s around body art and staged photography. These sexualized appropriations of Yoruba motifs also evoke the fetishization of Nigerian masks by the canonized fathers of modern art. These used their own primitivist projections of looted African art at the beginning of the 20th century as a source of inspiration.

Heike-Karin FöllKafka’s Gymnastics

In the series Kafka’s Gymnastics Heike-Karin Föll uses scotch tape to form plants collected from the urban space into mannerism-stylized monastic scripts on paper. Deploying the conjunctions ‘and’ and ‘or’ she connects real father figures like the queer theorist/activist Douglas Crimp and the well-known groupie/artist Anita Pallenberg to fictive personas like ‘Miss Nietzsche’ forging new constellations. Föll thereby unfurls imaginaries of belonging and elective kinship in dysfunctional gymnastic poses.

Juliana HuxtableSympathy for the Martyr / Lil’ Marvel

In her iconic self-portraits, Juliana Huxtable stages herself both in the poses of kitschy Christian posters akin to those on offer in Harlem bodegas, and as figures from anime and pop culture. Huxtable’s models are for the most part masculine figures, to whom adolescents look up. That they move fluidly among genders, and between analog and digital image production, does more than evoke these childish fantasies – it implies the possibility of their realization.

Lukas-Julius KeijserDaddy’s Little Princess

Lukas-Julius Keijser grants insight into the history of Dutch gay culture by shuttering the gaze with a curtain. Until today it is unusual to draw the curtains over windows that are facing the street in the Netherlands. To do so would be considered a sign that the inhabitants have something to hide. Gay bars constitute the exception, what draw the curtain to provide of a community unmolested by the outside gaze. The lettering applied to the curtain with bleach ‘Daddy’s Little Princess’ can simultaneously be read as a quotation of pop culture and as queer self-representation.

Michaela MeiseMare Nostrum

A group of eight people set forth from Palestine to cross the Mediterranean and land in Camargue. These are the first Christians that settled in Europe: Mary Magdalene, Maria Salome, Maria Jacobé, Sara-la-Kali, Martha, Cedonius, Lazarus, and Maximinus. In ‘Mare Nostrum’ (eng. Our Sea) – named after the Italian Coast Guard’s operation to save shipwrecked refugees – Michael Meise focuses on a migration movement that has been largely forgotten, and models the sojourners as patron saints of a church in Kassel. Instead of instrumentalizing Christian values as alibis for EU boundary-making, she reminds us of a foundational migration movement of a diverse community. In this exhibition Martha and Cedonius are on view.

Aleksandra MirAstronauts (#09_054)

A group of Christian saints in golden garb is collaged into a photo of four American astronauts in silver space-suits. The groups resemble each other through their shining metallic appearance, as well as through the circular borders around their heads provided by space-helmets and halos. Mir’s artistic work reveals analogies in the iconography of science and religion. Both produce paternal figures of identification, both have claims to power over human life and the Earth. At the same time, both saints and astronauts stand for the hope of something beyond earthly existence.

Konrad MüheFragen an meinen Vater

In ‘Fragen an meinen Vater’ (eng. Questions to My Father) Konrad Mühe interviews the actor Ulrich Mühe, who passed away in 2007. In the delicately edited arrangement of mediated representations of his father, Konrad Mühe educes answers and apologies from his father without uttering the questions. In an impulse of self-empowerment he has Mühe speak for both himself and for the observer in words written by other people.

MystiDA DA DADDY HASSELHOFF

My problem is that we in a room contemplating parental pains and conflicts of cannon have a very separate threshold for suffering… so let us suspend our belief that gravity affects us the same… make folly of the struggle to flatten… pervert or whatever… And see a different destiny, one in which the object of the idea… the document the ephemera or the pseudo-social contract decompose when we together lose our shit. Lose our shit because we might not be worthy of being Art Princesses and Conceptual Priests, that maybe the world we want to create doesn’t have room for those personalities… Maybe it’s not an art critique, but call to lose control, or your delusion of controlling legacy, which is relatively limited in capacity anyway.

Full transcript of the lecture performance:
holdmyhairback.wordpress.com/2016/03/28/da-da-daddy-hasselhoff/

Egle Otto’s painting is at once an homage and an appropriation of painterly role models. The front of the canvas shows halos that the artist has taken from the pictures of her male predecessors. She completes these to full circle and transforms them into an independent, abstract composition. Otto grapples with the authenticity, authority, and artistic ego of the artists she quotes on two levels: on the one hand by literally copying their handwriting she places all twelve signatures of the painters on the back of the picture. On the other, the completed painting is redolent of a further potential father figure: the painter Hilma af Klint.

Antje PrustD.I.L.F.

The installation consisting of a mattress and a laptop evokes at first glance a setting for the consumption of pornography. But instead of quickly dispatching with a drive, the work invites us to explore possibilities for intimacy and belonging beyond reproduction and heteronormative conceptions of masculinity and femininity.

D.I.L.F.

Dads I’d Like to Fuck

Dream I’d Like to Forget

A Dramatic Investigation of Fatherhood

Dubious Images of Lusty Flesh

Przemek PyszczekFacade Painting / Playground Structure

Przemek Pyszczek’s works reference the contemporary aesthetic of socialist apartment blocks in Poland and their transformation at the hand of their inhabitants. The ‘Facade Paintings’ refer to the particular facades that were embellished with motifs of progress and growth such as planets and plants in the wake of the collapse of the caretaking and planning ‘Father State,’ and which were further furnished with individual barred windows. Like the dysfunctional distorted climbing cages of the ‘Playground Structures’ they cross over into the visual cosmos of abstract compositions or constructivist statuaries of the modernist Avant-Garde. At the same time they criticize the aesthetic-forging efforts at reform, which merely concern themselves with the facades and not the architectonic or political conditions of life within.

Aykan SafoğluUntitled (Gülsen and Hüseyin)

Ellen Schernikau reads Ronald M. Schernikau

Ronald M. SchernikauFünf Zeichnungen auf Zeitungspapier

On public view for the first time are five illustrations done by the gay communist author Ronald M. Schernikau on newspaper. They are taken from his artistic estate, which is now housed in the Akademie der Künste (Academy of Arts). The reworking of the picture’s caption by simply striking them through obscures the motifs and allows a homoerotic reading of the men presented.

Bodo SchlackWorking Class Hero

On this monumental photograph secreted on an MDF-Plate we see an enlarged, dripping, latex glove like the ones deployed to protect the hands from chemicals in a photo-lab. The title situates the work in the tradition of labor photography as well as within the discourses of visual cultural studies and their critique of identity. The photograph projects the iconic quality of the worker’s raised fist onto the glove itself, which separates what is to be protected from any given body. At the same time, ‘Working Class Hero’ is no less combative, and does not fall back on the rhetoric of exclusive masculinity.

Sarah Schönfeld / Oskar CurterThings That Are Not There

From an i.v. bag, Halperidol, the neuroleptic used to fight a patient’s disconnection from reality, is dripping on the floor. A projector set in the puddle casts a video with blurring contours at the wall. It shows Oskar Curter, the father of Sarah Ancelle Schönfeld, as he plays the flute in his apartment. In weekly meetings, during which they most often structure their encounters by playing chess, a series of watercolors arose along with the concept of this multimedia installation.

Timo SeberBig Daddy, Techies #1 #5

A t-shirt of stiff leather is imprinted with the digital interface of a videogame. ‘Big Daddy’ takes its title from the self-selected user name of the 22 year-old star of Dota 2, which with over 11 million players is at present the biggest online strategy game. The imprint of a screenshot on an animal skin, which takes on the form of armor for online players, breaks through the barrier between the digital sphere and the physical body of the player. The cohesion of the online community of Big Daddy and his millions of fans feeds on the repeated rehearsal of their identities as digital fighters and athletes. Emphatically, Timo Seber is commenting, with his fictional armor and the possibilities of fitness he presents, on the disembodiment of digital sport.

Vanessa SinclairCutting Up the Image of the Father / Reconstructing the Third

The role of the father is controversial and especially problematic in the era of patriarchy and capitalism. To explore this journey from a psychoanalytic perspective, I take us back to the early theories of Freud and through a gross history of the development of the theories having to do with the father, whom I prefer to call the Third, as I feel this is a more accurate description of this position, especially today. Also bear in mind that when I refer to the m/Other, I am referring to the mother as well as the big Other to which we all relate constantly. Along those lines an/other refers to the other with a small o. For those of you familiar with Lacanian theory this other refers to the others that we identify with or put in the place of the object, usually of our desire.

But first let’s begin with the development of the subject, the individual. The identity/ ego is an illusion. The self is experienced as fragmented and a sense of cohesive identity is formed through fantasy. Some schools of psychoanalysis posit that we gain our sense of identity through the introjection of an identification with the m/Other that we then continue to modify via a series of identifications with other figures with which we come into contact throughout our lives. In this way, we may be seen as constantly adding to and reworking our identity/ego throughout our lifespan. Jacques Lacan, explores the formation of identity via his theory of the mirror stage. During this time, ages 6-18 months, the child experiences he/r self and body as fragmented, but when s/he sees he/r self in the mirror, the mirror image appears to be w/hole. As the child’s experience of he/r own body/ self is fragmented, there seems to be a disconnect between he/r experience of he/r self and the image in the mirror. This experience of disconnection continues throughout life. Through a similar process of identification, this time identification with he/r own mirror image, the child is able to internalize the cohesive sense of self that s/he imagines the mirror self/ image to have. This thusly forms the ego/ identity. We identify with what we imagine ourselves to perceive. The ego/ identity is therefore an identification with a fantasy. At the moment the child recognizes he/r self in the mirror image, s/he turns to the m/other sitting beside he/r to search for a signal that he/r perception is accurate – that indeed this w/hole person s/he sees in the mirror is in fact a reflection of he/r self. Once the m/other provides affirmation of this, the child turns he/r attention back to the mirror image, confirming that this perception is indeed he/r self, reifying he/r own identity.

The position of what would more accurately be considered to be the true self, what Lacan calls the subject, is not equivalent to the ego/ identity but rather is situated in the gap that exists between the self and the mirror image, consciousness and matter, the ego and the real of the body, perception and the unconscious, sexuality and death. Sigmund Freud states, the ego is first and foremost a body ego. It is the product of our fantasy as we attempt to produce an experience of a cohesive body/ self identification. In Beyond the Pleasure Principle (1920), Freud likens the ego to a crust. One may think of it as a callous that is built up through repetition of experience. Or a scab that forms when the skin is cut. The ego is our symptom. It is the scaffolding. But we as subjects are not equivalent to this structure. We are situated in the gap, in the space between. And our identity is malleable. If identity can be understood as identification with a fantasy of what we imagine ourselves and/ or our m/Others to perceive us to be, which is then solidified by the repetition of similar experiences that validate this fantasy, then why couldn’t we choose to adjust that our experiences and those characteristics and mold our identity in a different way? In a way we choose rather than being products of the system into which we are born.

We can see the fantasy of cohesion break down in psychosis, for example, where the person is plagued by the experience of the fragmented body/ self and unable to pull he/r consciousness out of the real of the body and into the realm of the imaginary, which makes the experience of living more tolerable via fantasy. We also gain a glimpse of our real fragmented state in our dream lives where we often experience a state of anxiety accompanied by pieces of a puzzle, which we later string together upon retelling in an attempt to form a cohesive narrative. We actually perform a similar action in our waking lives as well, which is also a series of fragmented events that we string together with fantasy to create an experience of a cohesive narrative that we can then relate to ourselves and others. But as is well know in psychoanalysis, we can go back and change our perception and understanding of events in our lives to recreate our personal narrative.

It is also useful to view waking and dream states not as a binary of awake-asleep but rather a continuum of wakefulness-sleep/conscious-unconscious. In this way, we recognize that when we are asleep we oftentimes have “one eye open” and are able to perceive that which is happening in our environment. Often our dreams are a way to encourage ourselves to remain asleep. What we call our censor decides not only what will be allowed from the unconscious into the conscious mind – however altered it is in representation to veil its true meaning – but also masks stimuli from the environment, frequently incorporating it into the dream work (i.e. when an alarm clock becomes a fire alarm in our dream and we suddenly need to evacuate the building). Similarly, when we are “wide awake” our unconscious mind is still active and is more or less present in daydreams, fantasies, imagination, etc. This concept of the ratio or continuum in a state of flux can be applied not only to dream-wake states and conscious-unconscious but also to aspects of identity such as gender and sexuality.

We are born into a story, an already existing narrative. Even before we are born, our parents, family and society have ideas of who we will be, what we will do, how we will succeed, and what trials we may face, all before we have even left our m/Others’ body. We are subjugated in utero. Our identity is prescribed, and not with us in mind. It is mapped out for us, structured, put into play, and is largely based on gender. The first question asked of us, “Is it a boy or a girl?” leaves no room for ambiguity – boys have penises, girls do not. We are all well aware of the atrocities that have taken place in the early assignment of gender to children born intersex and what catastrophic repercussions this often has. Yet rather than exalt the androgyne, as has been done in times past, we continue to force people into categories we’ve deemed socially acceptable. The system is built on dichotomy: male/female, active/passive, 1/0, master/slave. But what happens when we begin to break down this system, push boundaries, surpass borderlines and transgress limits?

As we know, gender and sexuality are not determined by biology. Judith Butler revolutionized the academic discourse surrounding gender and gender identity in 1990 with her book Gender Trouble in which she introduces the idea of gender as performative. Taking this a step further, not only could gender be considered a performance but our entire identity could be seen in this way. So if gender and overall identity is a performance, or at least has a heavy performative aspect, it should be essentially malleable, not only varying from person to person but evolving over an individual’s life span, from situation to situation or even from day to day if one so desires.

Freud (1923) stated our ego is first and foremost a body-ego. We learn about ourselves and the world via our bodies, especially through our orifices as these are the spaces where we exchange inside and out, ingest and discharge, are penetrated and expel. These sites are holes, openings, gaps, but also limits, boundaries and surfaces; the rim of the mouth, anus, urethra, vagina, nostrils, eyes and ears. What is the difference between those that seal versus those that remain open or rather, unable to close? Even consider the pores of the skin are countless numbers of orifices, tiny mouths opening and closing more quickly or slowly depending on our state, mood, level of stimulation or relaxation.

Around the turn of the twentieth century, Freud released his seminal work, Three Essays on the Theory of Sexuality (1905), in which he introduced his theory of childhood sexuality outlining the oral, anal and genital stages for the first time, claiming we are all born bisexual and intrinsically polymorphously perverse. The expert on sexuality and perversions at the time was Richard von Kraft-Ebbing, who believed – as did society at large – that sex is solely for procreation and any sexual act falling outside of the reproductive intention was considered to be perverse. Freud actually agreed with this definition of perversion but stated that perversion is our natural inclination and is the norm, even precedes the norm. Humans are sexual beings. Children are sexual beings. We are all perverse, and the entire body is sexual, not just the genitals and erogenous zones. Any part of the body can become eroticized, as can the gaze, smell or voice.

The drive as Freud posits it lies somewhere between the body and the mind, on the boarder. Drives are always partial and there is a difference between sexual object and sexual aim. The drive never works on the whole body or whole subject and therefore is always focused on fragments or individual activities together with a quality of being active or passive. In assuming one position, one may slide metonymically into the position of the other, and again into the position of the third, thereby assuming each and all positions. A catalog of drives is impossible because everyone develops their own variations. In Freud’s time, he posited that the ultimate goal was genital primacy but this has since been found to be a ridiculous notion as each and every path that a drive takes is equally valid as any other.

Ultimately every human being could be described as perverse. Perverse in Freud’s original psychoanalytic definition is sexual activity without the aim of reproduction. We all have varying combinations of partial drives. Why don’t we remain “perverse”? Because we all go through some sort of process of normalization via socialization in childhood. This normalization process is the so called Oedipus complex. The Oedipal complex is the process through which everyone goes in order to move from two to three elements, that is, to break away from a mirror relationship with another person who is the same and take the steps towards a third person, another other.

A characteristic of human desire is that it can never be wholly fulfilled and therefore leads to constant momentum or movement. Our desire always goes through that of an/other starting with that of our parents and finishing with that of the latest object of our love. To follow one’s own desire is an impossible task. Every desire relates to someone else. It is only when you don’t care that you don’t desire. My desire always goes through the desire of another person, therefore the field of desire becomes the ultimate field of identification. I identify with the desire I perceive in the other person in order to be desired by he/r. Desire works both ways and can therefore result in identification both ways. I identify with he/r desire and therefore abandon a previous desire that is a prior identification and then s/he identifies with my desire and so on and so forth. The structure of our psyche is such that my desire will always be indebted to that of an/other. The goal of desire is to go on desiring.

In the sexual relation, no matter if it is overtly sadomasochistic or not, there is always an inevitable element of dominance and submission. Even in the sexual relation with oneself, in masturbation, we are the one doing the beating as well as the one being beaten. We are performing the act on ourselves and therefore occupy both positions – dominant and submissive. We gain pleasure engaging in this activity, which is nonetheless an aggressive action. Furthermore, we may take the position of observer as well, witnessing the act being done by ourselves to ourselves, thereby entering a third position also, the witness. So, no matter if an action is auto-erotic, homosexual, heterosexual, trans, queer, top/bottom, S/M, Dominant/ submissive, poly, oral, anal, vaginal, and/or anything in between – no matter in which position we might be, we may concurrently slide into the stance of the other(s) as well, and therefore occupy both (and all) positions at once. We are voyeur and exhibitionist. We are being seen while concurrently enacting and observing the scene, exposing ourselves as we bear witness to the exposure.The position of the Third allows for this metonymy. Otherwise the pair may be trapped in a mirror relation.

As, we explore the evolution of the role of the Third in Freud’s theory from his case of Little Hans (Analysis of a Phobia in a 5 year old Boy) through Totem and Taboo to Moses and Monotheism, we see the shifts in Freud’s position on the subject. In the first, Freud’s theory theory describes the child’s fear of castration stemming from a relation with a powerful domineering and avenging father, while in the case study, the m/Other is clearly the one threatening castration, quite overtly, while the father is dominated by her. In Freud’s Totem and Taboo, the hoard of sons tire of the father’s reign and band together to overthrow and kill him, securing the women for themselves. According to the myth, the murder is followed by an acute sense of guilt that forms the foundation both for the prohibition of killing and for the prohibition of incest. Later, in Moses and Monotheism, the relationship between patriarchy and matriarchy is more clearly delineated. In this case, the murder of the primal father leads to a matriarchal structure taking hold wherein we see polytheism and mother goddesses flourishing until they is subsumed and overtaken by another patriarchal structure, this time in the form of monotheism.

With the establishment of the patriarchy comes the delineation of gender. What makes a man? And what makes a woman? The patriarchy establishes an entire system of culture created to perpetuate itself. It continually enforces and reinforces it’s own system, which it created. Patriarchy defines masculine characteristics in positive terms while the feminine is negative. Patriarchy also establishes and enforces the binary, with everything also defined in pairs of opposites – men are strong, women are weak, men are active, women are passive and so on and so forth. The resulting effect is male superiority and female inferiority, which was established in the original argument and is continually operated and reinforced by the system it created. The question now is what happens when such a patriarchal system begins to be put into question. When its structure of gender and prescribed role patterns begin to crumble. Historically, during times of instability when the patriarchal structure was put into question there was merely an exchange of one primal father for another. Take down a king and replace him with another king. The system that takes down the previous system ends up being structurally the same underneath. One revolution replaces another and then becomes the ruler.

In the current situation, hopefully, the system is being deconstructed and there is a real fight against maintaining the status quo.

Freud, S. (1905). Three essays on the theory of sexuality. SE 7:123–246.

Freud, S. (1909). Analysis of a phobia in a 5 year old boy. SE 10:1–150.

Freud, S. (1913). Totem and Taboo. SE 13:1–164.

Freud, S. (1923). The ego and the id. SE 19: 1–66.

Freud, S. (1939). Moses and Monotheism. SE 23:1–140.

Laplanche, J (2011). Freud and the Sexual. International Psychoanalytic Books.

Verhaeghe, P. (2001). Beyond Gender: From Subject to Drive. Other Press: New York.

Verhaeghe, P. (2009). New Studies of Old Villains: A Radical Reconsideration of the Oedipus Complex. Other Press: New York.

Verhaeghe, P. (2011). Love in a Time of Loneliness: Three Essays on Drive and Desire. Karnac: London.

Lea St.Domestic Wish Machine

On bistro tables Lea St. presents us the wishes of her ‘Domestic Wish Machine’ embossed in salt-dough, baked, and sometimes charred. The cheapness of the materials and the household scale of the plastics evoke speculation about the social locus of the source of wishes as well as mourning for a generalized fatherly inclination. ‘Domestic Wish Machine’ can be read as an artistic appropriation of the structure of domestic activity and stereotypes: these crumble, just like the salt-dough, towards their decomposition.

Danh Vo02.02.1861

Ink on A4 paper, writing by Phung Vo 29.6 × 21cm, 2009.

Last letter of St. Jean Théophane Vénard to his father before he was decapitated, copied by Danh Vo’s father, Phung Vo.

Each handwritten text arrives in an envelope mailed by the artist’s father directly to the buyer.